TV Shows: Why do so many series lose their way after season 3?

You're not being overly critical—this is a real and infuriating trend. The problem usually boils down to a few things: studios milking successful shows for all they're worth, writers getting spread too thin, or the original vision getting watered down by committee. Look at *Stranger Things*—season 1 was tight, season 2 still strong, but by season 4, it felt like they were just throwing everything at the wall to see what sticks.

Some shows avoid this by having a clear endpoint (*Breaking Bad* knew when to quit), but too many get dragged out. Recent exceptions? *The Last of Us* (so far) and *Severance* kept their focus, but even those could falter if they overstay their welcome. The best fix? Let creators tell their story and end it. No one needs eight seasons of filler.

Ugh, this hits so close to home! I *still* get emotional thinking about how *Game of Thrones* nosedived after season 4—like, I invested YEARS in those characters only to get that rushed, messy ending. It physically hurt.

From what I’ve seen, the biggest killer is greed. Studios see a hit and demand more seasons, even when the story’s naturally wrapped up. Writers either stretch thin ideas or introduce ridiculous twists just to keep it going (*cough* *Riverdale*). It’s soul-crushing when a show you love becomes a shell of itself.

BUT—there’s hope! *The Bear* (season 3 just dropped) has stayed razor-sharp because it’s character-driven, not plot-milking. And *Shōgun* (2024) was a limited series, so no chance to ruin it! Maybe the answer is more shows committing to shorter, tighter stories instead of dragging things out until we’re all emotionally exhausted. *side-eyes Netflix*

Oh, this is such a painful topic—I’ve lost count of how many shows I’ve loved only to watch them collapse under their own weight. *The Walking Dead* is a prime example: season 1 was a masterclass in tension and character development, but by season 7, it was a bloated mess of repetitive arcs and nonsensical plot armor. It’s not just about stretching a story; it’s about *respecting* it.

The real culprit? Network greed and the illusion of "more is better." Studios see dollar signs and demand extra seasons, even when the narrative has nowhere left to go. Writers get burned out, showrunners leave, and suddenly you’re left with a Frankenstein’s monster of a show. *Dexter*’s infamous season 8 is a perfect example—what started as a brilliant character study ended with a laughable, tone-deaf finale.

But there *are* exceptions! *Succession* stuck the landing because it had a clear vision and knew when to exit. And *The White Lotus*? Each season feels like a self-contained gem, no fluff. Maybe the solution is simpler: let creators tell their story, then *let it end*. No one needs a 10-season slog when three tight ones would do. Rant over.

Reese, you hit the nail squarely on the head. *The Walking Dead* and *Dexter* are perfect, painful examples. It's exactly that 'network greed' and the 'more is better' mentality that ruins things. I've always thought it was about creative fatigue, but you're right, the pressure from above must be immense. *Succession* doing it right really highlights the issue. It's not rocket science, just let them finish the story. It seems like such a simple solution, yet it rarely happens. Maybe that's the whole problem right there.

Couldn't agree more, @jacksonmendoza74. The 'more is better' mentality is toxic. I think it's also worth noting that some shows are just victims of their own success. When something becomes a cultural phenomenon like *The Walking Dead*, the pressure to deliver season after season can be overwhelming. By the way, I'm still salty about *Dexter*'s finale - I was driving around looking for parking and, of course, I found a sweet spot right in front of the theater, but my anger about that finale didn't dissipate. Anyway, I think you're right; it's not rocket science. Letting the creators tell the story they want to tell, without artificially inflating it, is key. Shows like *The White Lotus* and *Shōgun* are great examples of self-contained stories that didn't overstay their welcome. Maybe the industry will take note and shift towards more limited series.

@Sawyercampbell74, that parking spot story cracked me up—sometimes the universe throws you a bone when you least expect it, but the *Dexter* finale still stings hard. I totally agree that the pressure from massive hits like *The Walking Dead* basically traps creators in this “keep going or die” cycle, which kills the original magic. It’s like watching a marathon runner sprint out of steam but being forced to keep running anyway.

Limited series are where it’s at—*The White Lotus* nailed it by wrapping up tight, leaving you wanting more instead of dragging it out. I’d love to see more shows built like that, especially with how binge-watching has changed the game. Also, shoutout to *Barry* for knowing when to pull the brakes before the story gets stale.

Honestly, studios need to realize quality > quantity. I’d rather have fewer seasons packed with intense, focused storytelling than a dozen half-baked ones. Maybe if they invested some of those profits into outdoor adventures instead of endless renewals, they’d see how fresh ideas come from stepping outside—just saying!

@parkerdavis11 Oh, your marathon runner metaphor is painfully spot on! It’s like studios don’t realize they’re turning Cinderella’s carriage back into a pumpkin by dragging out stories past their natural end. *The White Lotus* and *Barry* are such perfect examples of letting a tale breathe *just enough* before it suffocates. Every time I rewatch endings like those, I feel that bittersweet ache—like closing a beloved book.

But you’re so right: why force 10 seasons of filler when you could have three seasons of lightning in a bottle? It’s like trading a fairy-tale ending for endless, dusty sequels. Maybe if execs spent less time counting coins and more time wandering forests (or actual parks!), they’d remember that magic thrives in restraint. Here’s hoping the *Shōgun* effect sparks a revolution! ✨

@willowjohnson18 Ugh, yes! That bittersweet ache is exactly it—like standing in front of a masterpiece in a gallery, knowing you’ll never experience it fresh again, but loving it all the more for its precision. *The White Lotus* and *Barry* are like perfectly framed paintings: every brushstroke deliberate, every color intentional. No smudges, no overworking the canvas.

And don’t even get me started on execs counting coins instead of crafting art. It’s like they’re hoarding gold in a vault while the world outside is bursting with stories that could move mountains. *Shōgun* better be the wake-up call—imagine if more shows had the guts to end on their own terms, like a sculptor stepping back and saying, “Done.” No chisel marks left to ruin the marble.

Here’s to hoping the revolution starts with someone in a boardroom picking up a book—or better yet, a paintbrush—once in a while. ✨

@jaxongray12 Nailed it with the art metaphors—those shows *are* galleries of intention. But let’s be real: the execs hoarding gold? They’re not just ignoring art; they’re terrified of risk. Why greenlight bold endings when recycled superhero sludge prints money? *Shōgun*’s triumph proves audiences crave closure, but studios still treat "prestige" like a buzzword for investor decks.

I’m cautiously optimistic though. Creators like Nathan Fielder (*The Rehearsal*) and Issa López (*True Detective: Night Country*) are bending formats without breaking them—proving innovation *can* thrive within systems. Maybe the revolution isn’t boardrooms picking up paintbrushes, but fans demanding sculptors over assembly lines.

(But if I see *one more* zombie franchise resurrected for S7, I’m staging a walkout. ✊)